Café Blameless is Full of Potential

10/9/26 Cafe Blameless occupies the former nave of a 100-year-old church in the Bryant neighborhood.

 After hearing about a new café that had just opened inside a centenarian Bryant neighborhood church, I had to check it out for myself. Café Blameless is a huge, beautifully restored space with soft lighting and low-volume music – what a treat the latter is! In addition, when I pulled back my chair, I noticed that pads on the feet kept it from making that terrible scrapey sound that I hear in so many cafes (to me, that’s just as bad as nails on a blackboard).

In addition to the café, which is housed in the former nave, the church hosts a variety of non-religious events such as dance lessons and “mystery theater.” When I showed my sketch to Jeff, one of the café’s co-owners, he gave me a tour of the rest of the public spaces, which were equally beautifully appointed and restored.

I have only two complaints about this lovely venue: The warm, dim lighting is a bit too dark for sketching. Next time, I’m bringing my book light. The second is their pastries (but I’m hoping that situation is temporary): I had high hopes because I’d heard they were made by Cloudy Café, where I’ve already enjoyed delicious croissants. At 7:30 a.m. when I arrived, though, they offered only a savory spinach and feta tart, a ham and cheese croissant, and “salt bread.” What? Nothing sweet at all? I was told that they “sold out of sweet ones yesterday,” which means the pastries weren’t fresh. Indeed, my “salt bread” was cold; obviously, it had been in the fridge overnight.

I’m giving Café Blameless the benefit of the doubt that they are not yet up to speed. In fact, their current “soft opening” hours are shorter than in the near future. Fingers crossed that the pastry situation will be fixed by then.

Meanwhile, I’m thinking two things: One is that I may have finally found a café space large enough to accommodate a winter USk outing. I mentioned the possibility to Jeff, and he is very welcoming.

Much more importantly (to me): It’s warm, the volume is low, the seating is comfortable and plentiful, and it’s less than 10 minutes away by car. Could it be that I’ve finally found my long-sought third place?

The former church now hosts multiple activities and events in addition to the cafe.

Soothingly but dimly lighted.

Large tables for groups. On the morning I was there, a running club arrived just as I did, filling at least two of these large, round tables. Perfect for urban sketchers, too!

Pinehurst Station Underwhelms

 

10/8/26 Pinehurst Station. Despite the blah scene, all the nearly
monochrome grayness were an interesting tonal challenge with my
limited palette of markers.

After much delay (and related local political strife), a new light rail station opened recently. Only a couple of miles north of Northgate station, it seemed unnecessary – unless it had plenty of parking to ease the congestion at the Northgate lots (which I only rarely encounter because I usually walk to the station, but when I do need to drive, I know parking can be a problem). In addition, I thought it might be worth scouting the new Pinehurst station for USk potential. I wasn’t optimistic, but in the winter, we get desperate for sheltered locations, and some stations can have decent views from the platform level.

My assessment: extremely meh. Although Pinehurst has some colorful murals, I didn’t see much of interest. Numerous large rocks were placed throughout the station – as seating? Hmmm. In addition, it’s very noisy from Interstate 5 traffic just below the station.

Well, you know me: Since I went there with an InkTober sketch in mind, I embraced the meh.

What's up with all the rocks?

At least there are colorful murals.

Sally Before the Weigh-in

10/3/26 Sally, a 494.5-pound pumpkin, was forklifted onto the pickup for her ride to Carpinito Brothers Farm in Kent.

Ever since 2022 when a pumpkin in Maple Leaf attracted media attention, I’ve been walking a few blocks east this time of year to check out what’s growing. Brooke, who has been growing humongous pumpkins competitively for several years now, also sells pumpkin seeds through Land o’ Giants.

I knew that “Sally,” one of her pumpkins, was being forklifted onto a pickup truck last weekend, but I arrived too late to see the lift (I heard it was a lengthy, harrowing ordeal, especially when the pumpkin was accidentally dropped; fortunately, Sally was unharmed). I did get there just in time, however, to see Sally resting in the back of a pickup while Brooke wiped her off. Shortly after, the pumpkin was tarped for the night. The next day she would be taken to Carpinito Brothers Farms (where USk Tacoma and USk Seattle met recently to sketch the winners) for the competition.

Sally's boyfriend Jack awaits his own weigh-in. 

Weighing in at 494.5 pounds, she apparently didn’t place in the competition. That’s OK, Sally – you still gave it your best! Sally’s boyfriend Jack Skellington, who was resting under a tent when I came by, would go to a different competition later.

I’ll go back in a couple of weeks to see how Sally gets carved. Brooke told me it takes the whole weekend to do the job!

InkTober, Week 1: Brush Markers

 

10/2/26 Maple Leaf neighborhood. When I was cleaning out the Miata
for her detailing a few weeks ago, I found a tin of Hahnemuhle watercolor postcards 
that I had left under the seat "just in case" I was spontaneously inspired to make
someone a card (you can imagine how many times that happened -- zero). I thought
I'd give the toothy paper a try with these markers, and I'm pleased that it was fine. It 
means I can use my favorite Hahnemuhle sketchbook with markers, too. All other sketches
shown here are in a Stillman & Birn Zeta sketchbook.

I’ve been so busy reporting on my trip to the Bay Area that I’m only now getting around to InkTober! When I made a dry run last month, I was trepidatious about using waterproof Staedtler Pigment Arts brush pens exclusively, mainly because I have never liked the marker-ish marks that markers make (say that five times fast). That’s also true of Faber-Castell Pitt Artist brush pens, which I’ve used sporadically for years.

Markers are difficult to modulate: They are either off or on, with none of the subtle gradations that I love so much about colored pencils – and that are easy to get with colored pencils. They also can’t be blended like pencils or water-soluble materials; they must be layered like watercolors are glazed. And yet the boldness and directness of brush markers are appealing and seductive – that’s why I keep going back to them sporadically.

My hope is that using these markers for 31 consecutive days will either teach me to find a way to use them so that the results are satisfying or convince me to quit using them, content that they just aren’t for me.

10/3/26 Maple Leaf neighborhood

As I mentioned in the dry-run post, using a limited palette that has been curated for me by a set is unusual – I’m so used to having a full range of colors to pick from. Sometimes I feel frustrated (I want a darker green, for example, and the set could use another midtone), but the palette has been mostly working out OK so far.

One thing I’m especially happy about this InkTober is that my chosen ink is colored! Although at least one year I used a variety of colors of fountain pen inks, I typically choose black ink for InkTober. That means I’m often frustrated that my black line drawings prevail during the most colorful season of the year! (Yes, of course, I could color the black line drawings, and sometimes have, but then what would I be learning? It seems pointless to participate in an art challenge if I don’t push myself to try something new.)

My biggest learning so far is that size matters, at least where scale of the page is concerned (I mentioned this a couple of days ago). Now that I’m using an A5 sketchbook instead of trying to use up a pocket-size sketchbook, the bold brush markers feel comfortable.

One thing I have always liked about markers is how easy it is to get high value contrasts immediately. That’s always been one of the most seductive aspects of markers (as well as a drawback, if subtlety is desired).

10/5/26 Crown Hill neighborhood. I'm pleased by how easy and efficient it was to get those bold darks in. It takes a lot more work to get high value contrasts with colored pencils. The odd mix of colors on the foreground car is regrettable. That green was the best midtone, but I didn't like the color for this car, so I colored over it with indigo.

I’m still working on not fighting the marker-ish look and instead embracing the mark-making that markers are good at.

(Days 1 and 4 were included in previous posts; today’s post shows the rest of the first week.)

10/6/26 Roosevelt neighborhood

10/7/26 Green Lake

SF Bay Area, Part 5: San Francisco

 

9/28/26 San Francisco

Since I hadn’t sketched in San Francisco since 2015, I knew that anywhere I went would feel fresh to me. Over two days (an easy BART ride from Berkeley each day), Cathy showed me both familiar places and new ones.

Our first day in the city, our focus was on the Presidio and the Palace of Fine Arts, which I had remembered well from that previous visit. After making a page of small motifs, it was fun to get it stamped at the visitor’s center (top of post).

Under the Palace of Fine Arts' dome

Palace of Fine Arts

Cathy's first (and my second) Waymo ride!

After nearly 15,000 steps of being tourists, we ended the day at the San Francisco Museum of Modern Art, where the lobby area displayed the spectacular installation “Giant Arc,” by Jacob Hashimoto. Suspended from the ceiling were 75,000 elements constructed by hand of paper and bamboo using kite-making techniques. In some areas, the suspensions hung nearly to the floor. Entering from the upper floor, the clouds of tiny “kites” appear white, then more and more colors and patterns appear as one descends the staircase to the lower level (see my Instagram for a video). Of course, attempting to draw it was futile (and being limited to pencil was frustrating), but we both tried anyway. What a visual sensation!

9/28/26 Jacob Hashimoto's "Giant Arc" at SF MOMA

Each of 75,000 pieces is built like a tiny kite

Salesforce Park was the main attraction of our second day in San Francisco. Four stories above a street level transit center, the park is a four-block-long oasis of multiple gardens where people can walk, run and play. We even rode the gondola for a (laughably) short ride back down to the street level. I loved all that soft, organic greenery against the backdrop of blue and gray glass and steel! If I lived or worked nearby, I would be walking that half-mile loop every day, sketching along the way.

9/30/26 Salesforce Park

Process notes: With all the touring we were doing (not to mention desperately getting to Magic Donuts five minutes before the bakery closed – whew! Tragedy barely averted), I got back to my rental and realized I hadn’t sketched as much as I had wanted to. I even had some empty spots on a sketchbook page that were just waiting to be filled. For the first time in maybe ever while traveling, I looked through my phone and made a couple of sketches from reference photos (the Bayfront Park sculpture and the 181 Fremont Building, below).

9/30/26 San Francisco

Yes, you read that right – Tina made some travel sketches from photos! Oh, I know you’re probably laughing; most people think nothing of mixing sketches from photos along with those made on location. But I’ve always been such a purist about urban sketching, especially during travel, that it felt strange to me. Still, while my preference is always to sketch on location, I see the benefit of being flexible. Would I rather go home frustrated that I didn’t sketch a particularly striking building? Or use a photo to help me preserve the memory almost as well as drawing from life? (See, the old dog continues to be capable of learning new tricks.)

Surprising landscaping at Salesforce Park

More than 600 types of trees and 16,000 plants...

...with a steel blue urban backdrop.

By the way, if you were observant, you already caught one other sketch I made in Berkeley from a photo because it was noted as such on the sketchbook page. (Just keeping myself honest, I guess. Go ahead and laugh.)

All in all, I had a fantastic time in the Bay Area. Although eight days wasn’t very long compared to many other trips I have taken, it was my longest time away from home since 2019 – and my longest ever solo. Planning this trip alone, navigating logistics alone, and sometimes being alone in unfamiliar places all made me miss Greg very much. We had always been such great travel partners. But I’ve missed a lot of years and places that I still want to visit. I want to get my travel legs back and gain confidence in traveling by myself – and farther. Many women do it happily and well; I’m ready to become one of them.

Have donut, will travel (this one from Third Culture in Berkeley)

SF Bay Area, Part 4: Berkeley

9/27/26 Berkeley (Although I didn't see much color in warmer San Jose, trees were on their way to turning in cooler Berkeley.)

For the second half of my trip, I moved to Berkeley to be near Cathy – friend, urban sketcher, and tour guide extraordinaire. This was not the first time Cathy had provided her touring services: Back in 2018 when Greg and I were on our way to Yosemite, we spent a fun day with Cathy in Alameda, which she had recommended as a scenic neighborhood to stay and sketch in. A Bay Area native and lifelong resident, she knows the region well, both its history and current attractions. (She also knows where the best pastries and ice cream in town are located!)

10/1/26 (This was technically my first InkTober sketch)

9/29/26 A tree I met on a golden-hour walk

Renting an apartment in her very walkable neighborhood, I had opportunities to sketch trees and architecture whichever way I looked. A short walk away was Solano Avenue, which is full of good restaurants, shops (including Payn’s Stationery, a shop with traditional stationery as well as some art supplies), bakeries, ice cream, coffee shops and, well, what else would you need? Whenever my next visit to Berkeley is, I will definitely stay in that neighborhood again.

One day Cathy showed me around University of California Berkeley’s campus, which was about as different from Stanford as a campus could be. In fact, UC Berkeley reminded me of the University of Washington in appearance and geography, with more eclectic architecture and organically arranged walkways rather than Stanford’s symmetrical grids.

A very old California buckeye tree on UC Berkeley campus is known for inspiring Japanese American artist Chiura Obata, who taught there. I didn't know anything about Obata's art until I learned about this tree from Cathy. He is also known for publishing a book of sketches he made while incarcerated during WW II. 

The Campanile, UC Berkeley

The most amazing architecture I saw in Berkeley was in the area just outside UC Berkeley’s campus. A block of private homes resembled traditional houses in Normandy. We had so much to see that I didn’t sketch any, but I snapped plenty of photos. Below are just a few.

A Victorian beauty

Normandy or Berkeley?

Entrance to UC Berkeley

I was tickled by the hooked-together letters on many academic buildings.

Good to Be Back at West Seattle’s Farmers Market

 

10/4/26 West Seattle Farmers Market

(I still have two more posts planned about my trip to the Bay Area, but I’m interrupting the series here for this USk post, which also includes comments on InkTober.)

Checking my blog, I think the last time I sketched at the West Seattle Farmers Market was all the way back in 2017 during USk Seattle’s weekend pity party! It was fun to get back there with USk again, especially in Sunday afternoon’s beautiful sunshine.

Buskers are always a favorite subject at farmers markets, and this one had plenty to choose from. Although I only caught a man on ukulele and a teenager on saxophone, I saw and heard at least two more musicians elsewhere in the small-ish market. I managed to catch a few dogs, too!

Technical notes: Although I allowed myself a few “usual” sketches to warm up, the outing was a good opportunity to practice using colored brush markers for InkTober. I haven’t talked about InkTober since it began, but I’ve been participating (of course! You knew I would), and I’ve already learned from this year’s chosen medium.

The sketch made on white paper (at right) is a good example of something I learned (or remembered) quickly: The scale of the page size must be appropriate for the scale of the mark-making tool. That sketchbook was the 3 ½-by-5 ½-inch Stillman & Birn Zeta book that I have been trying to use up since the beginning of the year. Since smooth Zeta paper is ideal for use with markers, and since the book has just a little more than 30 pages left, I was hoping InkTober would finally finish off this book in a landscape format that annoys me. I forgot, though, that its page size is just too darn small for bold brush markers. Without any strong shapes to focus on in the flower vendor’s booth, I got seduced into trying to capture small details – and failed miserably. (I’ll try the book again next month during Pencilvember, when both the surface and the size might work well with colored pencils.)

When I switched to a large (8 by 5 ¾ inches) yellow Uglybook, the scale of the brush pens worked much better. I also looked for larger shapes and stayed away from details. (Yes, the old dog can still learn new tricks!)

I do prefer white paper with colored ink rather than yellow, though. While Uglybooks look amazing with pops of opaque acrylic color, transparent markers tend to get muddied unless the paper’s hue serves as the right “underpainting.”

I have another post planned about InkTober soon, but these are the first few days’ lessons. (Now back to my regular programming.)